By Colleen Rowe
Behind its “feel good” effect, Evan Mathew Weinstein’s feature film, “Leaving Circadia,” is laced with serious undertones circulating around semi-harmless manipulation and the everyday struggles artists, and people, face in a world filled with aesthetically presentable competition.
“Leaving Circadia” circulates around the life of resident manager, “super,” Tom’s interactions with the people around him—friends, his boss, and initially unfriendly, but occasionally respectable acquaintances. Tom is played by Evan Mathew Weinstein, who is not only the director, but also the writer and executive producer of the film. Portrayed as a somewhat hopeless stoner with limited obligations and a knack for painting, Tom lives his pointless life as if he is a promoter for the nonconformist lazy man. His character, initially likable, even with his untactful commentary, becomes even more engaging as the film progresses. There are times when his manipulations are harmlessly, for lack of better words, cute. His encounters with the noticeably attractive Collette, played by Larisa Polonsky, shed the covering of his comical outer persona and allow audiences to see him beneath his protective guise. As viewers, we remain suspicious of his motives that are intertwined with benign manipulation.
The few side-plots featuring the various characters in Tom’s life are memorable in their brevity—including an interaction between two lovers as they talk in a bathtub. These simple sentiments are some that all viewers can relate to on a personal level. Those moments that are so private, but all-encompassing, portrayed and likened to be interactions that probably have happened in real life situations. They are charming, realistic even—this is what makes “Leaving Circadia” so appealing, with its character stereotypes shaded with the individualistic behaviors that can be found in real people who aren’t performing for a camera. A few shots involving the major characters throughout their day at a park and its surroundings, the sun setting in the distance, remain the most aesthetically memorable throughout the film. A shot of the sunlight between trees—it strikes you suddenly like a glaring focus.
Aside from Collette, his boss plays one of the most important roles in his life, similar to an overbearing father who gives many chances, but also expects too much. Played by Joseph R. Gannascoli, Nat is a self-serving, mercurial individual who often criticizes Tom on his most obvious flaws: slothfulness, irresponsibility, and folly. He rightfully demands Tom’s time, because, as he explains to the aloof stoner, it is his job, but he is unreasonable in his expectations—even if Tom had been a hard-working, reliable character. Nat sheds light on Tom’s inactivity, forcing viewers to see that he isn’t doing enough, regardless of how rudely he interacts with him. As viewers start to see Tom through Nat’s viewpoint, they might wonder: who is in the right here? The supermodel-toting, Bluetooth-obsessed Nat has a valid point, but we are already on Tom’s side because he is so easy to empathize with. Before dismissing Nat as a typical, “jerk” boss, consider his character’s accusations as credible, as he has probably known Tom for an elongated period of time.
Aside from acting as the visual muse and emotional stability for Tom, Colette plays a key, inspiring role that transcends Nat’s introspective assessments. She offers her advice to Tom, upon seeing his art for the first time, to sign paintings, sell them—to get his work out there. She sees talent past this major “hopeless” category that Tom is fit into by his peers. Why hasn’t Tom, who is so quick to attempt to win money in poker bets, taken advantage of marketing his immense artistic talent? He answers this later during a reflective moment with a friend: “My dad was an artist, talented. At his easel, cigar in his mouth. The art world is a brutal place. Somewhere along the way, it broke him. I watched that light go out. I was always afraid that would happen to me.”
Tom eventually takes back control of his life, something that Collette is directly responsible for—picking up his art, brushing off the dirt, and offering it as a piece to sell. Before you put your “trash,” the work that made you so horribly mad, to the curb think about its effect on others. It is validated that Tom is not the potential that Collette thought he was, but that he is an artist.
If you’re not going to allow the light to shine, it will never be lit. How will it ever go out? That’s the equivalent of hiding in a dark closet, waiting for your captor to find you. If you leave your protective cage before that darkness you fear discovers your whereabouts, you might just create a perpetual brightness—art that is not tainted by fear.
The people we meet in our lives change us, regardless of how long they stay.
Larisa Polonsky won Best Actress in a Feature Award, lead lady in “Leaving Circadia,” at Long Beach International Film Festival (2014).
“Leaving Circadia” cast includes: Christian Coulson: Tom Riddle from “Harry Potter”, Joseph R. Gannascoli from “The Sopranos”, Ashley C. Williams from “The Human Centipede”, Larisa Polonsky from “Chicago Fire”, adult actress Stoya, and two time Tony winning actor (and star of Fox’s “Fringe” and Steven Soderbergh’s upcoming series “the Knick) Michael Cerveris.
Photos previously featured found on: Facebook.com/LeavingCircadia